Beruflich Dokumente
Kultur Dokumente
and it is no surprise that the curator, Heather Galbraith, said that she “accepted the baton with
The exhibition is displayed over four large galleries and a number of nooks and crannies such
as stair wells, darkrooms, foyers and corridors. It holds a huge variety of contemporary art
made by New Zealanders within the last three years. The curator said that she wove three
[objects] and augmented reality/altered states. The collection includes paintings, sculptures,
photography, prints, drawings, process and performance. The senses of sight, sound and touch
are able to feast on over eighty exhibits, of which some are quite interactive.
I have trouble thinking of the overall experience as a single exhibition; the sheer bulk of
artistic information housed within the galleries demanded more time and attention than the
viewer can cope with in one sitting. Even within each of galleries two, three and four, there
was such an assortment of work bombarding me that I think I may have found relative refuge
The experience in gallery one was distinctly different, and disconnected from the other areas.
It was comparatively quiet (even when the large box thumped around, and I have no idea why
I felt ominously threatened as I immersed myself in its content. Works within this gallery were
more spread out than in others, allowing me to engage more closely with each one in its own
context, without feeling crowded by the exhibit(s) next to it. The exploration of three-
This was not so easy in other galleries, although the crowding probably enhanced the sensory
overload I felt as I stepped into the neo-brutalist playground by et al. I felt profoundly
connected with this ‘experiment with information’, recalling the book Future Shock, by Alvin
Toffler (1970).
I struggle with the nature of the curator’s three themes. They seem far too obvious and generic
to hold credibility as useful or insightful. Perhaps a smaller collection of exhibits would have
pulled together a tighter exhibition in terms of thematic integrity. For example, some of the
works, I felt, could have been omitted as they seemed more craft-like in terms of their
associations with previous artists’ investigations. Exhibits by Michael Morley and Simon
Moriss seemed to highly influenced by work from the likes of Kupka, Richard Killeen,
Gordon Walters and John McCraken. The collaborative work U.F.O.B., by Brett Graham and
Rachel Rakena, resembles early work in the video art arena of the 70s and 80s and David
Hatcher’s Ludwig and Hugh (2004) seemed like Pop Art to me. Ground breaking works that
paintings, and Jacqueline Greenbank’s BBQ, Crate and Corgies and Touring Tandem. The 9
Pinnies unmade, by Pip Cuthbert defined space in a new way; Pacific Washup by Rachael
Rakena, Fez Fa'anana & Brian Fuata created a profoundly disturbing atmosphere with bodies
in bags (as through washed up on shore) juxtaposed with the surfers walking mundanely past
as though this was an everyday sight. This is by no means an exhaustive list and many other
I think that the exhibition has such a wealth of information and expression that it would be
more manageable if it were absorbed over several days. It has been a huge commitment to
contemporary art, and is a goldmine for anyone who is serious about the contemporary art
world of New Zealand. Like any goldmine, I suspect that a bit of sieving will be required to
References:
Galbraith, H. (2007). Curator’s Perspective. Retrieved April 10, 2007, from
http://www.telecomprospect2007.org.nz/opinions/CuratorsPerspective.shtml
Holderness, J. (2007). Telecom Prospective 2007. Retrieved April 10, 2007, from http://www.telecomprospect2007.org.nz/